Monday, September 08, 2008

[HvEXAS] FW: gigs and cd

Saturday September 13th




Tony Coulter has been on the radio in the New York City area continuously
since 1985 -- at one point, on three stations at once. His only excuse for
hogging the airwaves is that he likes everything from Pierre Henry to
America. He has also occasionally written about music for magazines such as
Ear, i/e (later e/i), and the Rail. He has way too many records.

If, Bwana and Michael Peters, sounds and texts

Since the 1980s, Al Margolis has earned an international reputation for his
experimental music recorded under the name If, Bwana. Realized with a range
of collaborators, If, Bwana music is a fusion of ambient, industrial, and
musique concrete, featuring strange soundscapes that are both soothing and
unnerving, often at the same time. Margolis has also been very active as the
owner of two prolific labels, the cassette label Sound of Pig and, since the
1990s, Pogus Productions, a CD label with a focus on experimental
contemporary classical music.

Michael Peters is the author of Vaast Bin (Calamari Press, Fall 2007).
Various manifestations of his written-sound-images have appeared in journals
and books like Sleepingfish, Word for/Word, LUNGFULL!, Hyperrhiz: New Media
Cultures, SPELL, Spinning Jenny, and Richard Kostelanetz's Dictionary of the
Avant-Gardes.  His visual poetic structures can be found in various special
collection libraries like the Sackner Archive; they have also appeared in
numerous galleries and anthologies, such as the
recent Ohio State Visual Poetry in the Avant Writing Collection and the
Minnesota Center for Book Arts' Vispoeologee.  Most notably with Poem Rocket
and the Be Blank Consort, aural manifestations of his sounds have appeared
on recording labels such as Atavistic, PCP Entertainment, Magic Eye, and
Luna Bisonte Prods. This appearance at Issue Project Room will be his third
collaboration with Al Margolis.

Letters From Withal Unhanded

Beginning initially with Al Margolis's interest in a multi-faceted project
based upon Shakespeare's "The Tempest" and Michael Peters's subsequent
involvement in the project, Letters from Withal Unhanded continues this
fascination. It uses "The Tempest" not only as a material starting point
for this new piece, but as a starting point for arranging the piece as
whole. In this new piece of the project, new "letters" were added to "The
Tempest," complicating as well as dispersing the initial text. Emerson's
"Shakespeare; or, the Poet" (published 1850) and Charles Olson's "Quantity
in Verse, and Shakespeare's late plays" (written between 1955-1965) have
been arranged to coincide with "The Tempest." This piece attempts to
arrange and derange--to receive and construct--the hopelessly inseparable
idea of what we call history and that history can be the function of the
moment. What do we choose to use, to fade in and fade out in that rolling
contiguity of this shared moment with all its divisibility, something of it
flows and reaches us along the channels initially set forth, in this case,
by starting with "The Tempest?" The piece, the particle of the particles,
emanates. How do we use this awareness? What are we channeling? How does
it, organized as it is by the three source texts of Shakespeare, Emerson,
and Olson, organize us? What landfall emerges?

Sterling Basement - Songs of the Gowanus Canal
Sterling Basement are John Roach, John Hudak, Shawn Onsgard, Matthew Rohrer

In this performance, Sterling Basement presents an homage to the Gowanus
Canal. The ensemble includes the multidisciplinary artist John Roach on his
homemade Band-O-Fly instrument, sound artist John Hudak with homemade thumb
pianos, pianist and composer Shawn Onsgard with his mockingbird Melodica,
and the poet Matthew Rohrer delivering texts related to the once thriving
shipping hub.

The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215

Telephone: 718-330-0313


Deep Listening Institute

An Innocent(Re-Ducks)

Thursday, September 18 at 8 pm

Al Margolis, prerecorded tracks/live sounds


Lisa Barnard, voice

Monique Buzzarté, trombone

Tom Hamilton, synthesizer

Jacqueline Martelle, flute

Emily Harvey Foundation

537 Broadway (at Spring Street)


Admission $15 Adults/$10 Students & Seniors


50 ayr road chester, ny 10918
fax 509 357 4319 l email

September 2008 Release

(Pogus 21049-2)
UPC: 760342104926

" ŠCreshevsky's music is cosmopolitan and streetwise post-modern
expressionŠI do not exaggerate when I say that I have never heard anything
like Creshevsky's music beforeŠIf you're up for an aural adventure, here's
your ticket." (Josh Mailman, American Record Guide)

"ŠIf, Bwana is some sort of evil genius working with raw materials which are
never adapted to a genre or a context, because they create one in that very
moment. Those sources are radically altered up to an utterly unrecognizable
state, anarchic manifestations moving in compact determination." (Massimo
Ricci, Touching Extremes)

A split cd of works by Noah Creshevsky (4 tracks) and If, Bwana (3 tracks).
While on the face of it this may seem a somewhat odd pairing, the pieces
recorded here comment on and highlight each other. And as the above quotes
suggest, an aural adventure is indeed in the offing.

Trained in composition by Nadia Boulanger in Paris and Luciano Berio at
Juilliard, Noah Creshevsky has taught at Juilliard, Princeton University,
and Brooklyn College. He was director of the Center for Computer Music
(1994-2000) and is currently Professor Emeritus at Brooklyn College of the
City University of New York. His musical vocabulary consists largely of
familiar bits of words, songs, and instrumental music that are edited but
rarely subjected to electronic processing. The result is a music that
obscures the boundaries of real and imaginary ensembles though the fusion of
opposites: music and noise, comprehensible and incomprehensible vocal
sources, human and superhuman vocal and instrumental capacities.
Creshevsky's most recent hyperrealist compositions explore the fragmentation
and reconstruction of pre-existing music in combination with original
synthetic and acoustic materials. Moments suggest musical environments of
indeterminate ethnicity--simultaneously Western and non-Western, ancient and
modern, familiar and unfamiliar.

Hyperrealism is an electroacoustic musical language constructed from sounds
that are recognizable parts of our shared environment ("realism"), handled
in ways that are exaggerated or excessive ("hyper"). Hyperrealist music
exists in two basic genres. The first uses the sounds of traditional
instruments that are pushed beyond the capacities of human performers in
order to create superperformers--hypothetical virtuosos who transcend the
limitations of individual performance capabilities (e.g., Mari Kimura Redux,
Intrada, Favorite Encores). Hyperrealism of the second genre aims to
integrate vast and diverse sonic elements to produce an expressive and
versatile musical language. Its vocabulary is an inclusive, limitless sonic
compendium, free of ethnic and national particularity (e.g., Shadow of a
Doubt). Hyperrealism celebrates bounty, either by the extravagant treatment
of limited sound palettes or by the assembling and manipulating of
substantially extended palettes.

Al Margolis has been working under the musical pseudonym If, Bwana since New
Year's Day 1984. There are often collaborators in this project‹both
knowingly and unknowingly. Both are represented on this recording. Xyloxings
was a concept-based work that in the end had the concept discarded for
compositional considerations. Lisa Barnard's vocals were recorded with her
direct knowledge. Scraping Scrafide uses a portion of Tony Scafide's piano
part from a prior work of mine‹3 Out of 4 Ain't Bad‹and processes it. Cicada
#4: Barnard Mix is part of my "discipline" series‹an open set of works‹and
uses Barnard's vocals from other sessions to create one of many possible
versions of this work.

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